My name is Xebeche, He Who Talks Loud, Saying Nothing. I prefer to be called Nobody. (Jim Jarmusch, Dead Man, 1995)
For the first time, Nanou confronts the choreographic structure of the octet through the rigorous process of a creative strategy built on the formalization of the human figure and its enclosure.
The body is an anthropomorphic form inevitably conflicting with its geometric enclosure. The geometry of the enclosure embodies the rhetorical experiment of perfection as it serves the releasing of the enclosed figure, disoriented in an impossible centre. The choreographic structure is a continuous mutation, differently following the body’s movement and its transformation of the space.
An endless sequence shot that twists and tangles into a knot, until it bursts.